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Full text of "Method for the xylophone"

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BOSTON; 

OLIVER DITSON COMPANY, 



NEW YORK; 
C.H. DITSON &CO. 



CHICAGO; 
LYON &. HEALY. 



PHILADELPHIA; 
J. E. DITSON &CO. 



TAethod 



for the 



Xylophone 



BY 



frofo. % y j 

T.H.Rollins on 



BOSTON 

OLIVER DITSON COMPANY 



NEW YORK 
C.H.DITSON aCO. 



CHICAGO 
^ LYON & HEALY 

COPYRIGHT MCMVI b u QLIVCR DIT5DN COMPANY 



PHILADELPHIA 
J.E.DITSON & CO. 



METHOD FOR THE XYLOPHONE 
BY T. H. ROLLINSON 

CONTENTS 

Major Scales 6 

Elementary Exercises 7 

Minor Scales • 7 9 

Technical Exercises 10 

Embellishments 14 

Double Notes 17 

Diminished Chords 17 

Chromatic Scale 18 

The Roll or Tremolo . 19 

The Trill and Glissando. 20 

Triplets 21 

RECREATIONS 

Dem Golden Wings 22 

Idle Moments 23 

Nydia Waltz 24 

King Of The Road Galop 26 

Speed The Plough . 26 

Calypso Polka 27 

Loin Du Bal 28 

Softly Gliding Polka 29 

The Blue Bells of Scotland 29 

The Free Lance March 30 

Russian Hymn 30 

The Silent Steed Galop. 31 

Constitution Hornpipe 31 

Greater America, Fantasia Polka 32 

Common Musical Terms 34 



Digitized by the Internet Archive 

in 2013 



http://archive.org/details/methodforxylophoOOroll 



THE XYLOPHONE 




XYLOPHONE 

(F scale) 



CONCERT XYLOPHONE 

(C scale) 



In this work the chromatic xylophone only will be considered} with scale extending-, 2^ octaves, from 



ttf 



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and the large concert size with scale from 



A# 



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The best xylophones are made of hard wood and arranged similarly to a piano key board as in the cut represent- 
ed above. The upper section represented (sharps and flats) should be arranged so that they will come between 
their natural notes in the other section. By placing it so the lower C# will come between the lower two notes of 
the other section (C and D) the other notes will be in their proper places 



MANNER OF PLAYING 



Place the xylophone on a table of the proper height for convenience and stand opposite the centre of it in 
order that it may be equally convenient to reach the highest and lowest notes. Hold the hammers between the 
thumb and first joints of the forefingers, using the third and fourth fingers for controlment only. Strike the bars 
exactly in the centre with a quick rebounding stroke, using the wrist and fore-arm. The right hammer should 
always be the nearest to you and as a rule use the left hammer on the sharps and flats and the right on the natural 



notes in rapid hammer crossing. If the hammers are always kept in this position 




j>. there will be no dan- 



ger of entanglement. R. signifies the Right hand and Z,.the Left. Ascending, begin with the Left; descending with 
the Right Hand. 



y 



6 

In some cases, simply for convenience, (he notation in these exercises has been written an octave below the pitch 
called for, thus:- 

-ts-written^/ JL — ,--- and the^ig-h est^A'fi~i i nste a d of 
In such cases beg-in upon the lowest note of the same name, on the instrument 

MAJOR SCALES. 
Scale of C major. 



See scale of F major. 



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r i r J JJl jj]'f 



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1 



E 



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R L R L R L R L R L R L R L R L R L R L R L R L R L R L 

Scale of G major. 

Begin upon the lowest G of the instrument. 



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Use hands as in the scale of C throughout the scales. 

Scale of F major. 

Begin upon the lowest F. 



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Scale of D major. 



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Scale of B!> major. 



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Scale of A major. 



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Scale of Eb major 



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NOTE. The scale of two octaves in keys of E and El? cannot be played on the F xylophone (*ee cut). 

R L 



Scale of E major. 
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Scale of A\> major. 



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Scale of B major. 



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Scale of Dp Major 



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Scale of F$ Major 
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These two scales are identical in pitch. 
Scale of Gp Major 



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Elementary Exercises 



Tempo J =8o to 120 

Hammer changing - on the same note. 



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Preserve even power of stroke. 



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Minor Scales 



A Minor. Relative to C Major 



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E Minor. Relative to G Major 
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B Minor. Relative to D Major 



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CO Minor. Relative to E Major 



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G Minor. Relative to Bp Major 

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C Minor. Relative to Ep Major 



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F Minor Relative to Ap Major 



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Bp Minor. Relative to Dp Major 



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10 



Technical Exercises 



Tempo J r ho to no L 



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Ending in KeyofF 



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1. Beg-in and ewrf on 1§J note of the 2^ measure and play in the Key of G. -(% % J » g 

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6. Begin ., 



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cegin ,, <,. ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, A. 

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TempO J ; 100 to 120 and 6 z 100 to 120 



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Other Models 

2. Beg"in and end on l^t note of the 2i\ measure and play in the Key of G. 

3. Beg-in „ „ „ IS.* „ „ „ 3^ „ „ „ „ „ „ „ A. 

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14 



EMBELLISHMENTS. 



These include the Grace Notes in general, Turn (Gruppetto.), Mordente, and Trill. 
The Small Appoggiatura or Petite Grace Note, is a small note with a dash through its stem, thus 
its time from the principal note - to which it is usually attached by a slur - and is played very quickly. 

EXAMPLES. 

Written Played 



It takes 



Written 



Played 



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There are two forms of Double Appoggiatura; one consisting of two grace notes, (ascending or descending,) 
taken at the distance of a third from the principal note, and the other of two grace notes, one above ancLone below 
the principal note. 

Ascending-. Descending". one above and one below 

EXAMPLES 




The Double Appoggiatura should take its value from the preceding note,thus; 
Written Played 



EXAMPLES. 



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mf^^ ' M 



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The Appoggiatura Simple is seldom used, for it is better and decidedly less confusing to write the passage out 
in full. A short illustration will fully explain it. It takes one half of the value from the note which it accompanies. 
Written Played 



1 



EXAMPLES. 



3E 



J 



i. 



4- 



XE 



m 



m 



3E 



The Gruppetto is a small group of grace notes including the Turn. We will first explain the Gruppetto of three 
notes. They are usually written in sixteenth notes unless attached to an eighth note, in which case the Gruppetto 
should consist of thirty-second notes. They do not take their time from the note to which they are attached. 



#i^ 



£ 



i as r i 



The Turn or Gruppetto of four notes comes after its principal note and takes its time from it; usually one half 
its value. Many forms are better written out in full, owing to the difficulty of proper interpretation. The follow- 
ing is the most simple form of Turn. 

Written " ~~=^- Plaved 




The sign used to indicate this species of Turn is c\s thus 



The Turn consists of one note above, one below and two repetitions of the principal note. The lower is the next 
note, but is sometimes raised a half tone by a % or \\ placed under the sign as above. 

If the upper note is changed the turn is written out in full. 

There are so many ways of rendering the Turn that a thorough explanation cannot be given owing to lack 
of space. 

As a rule the Turn partakes of the character of the composition. 

There are many irregular groups of grace notes, which appear in difficult forms of composition like the 
following : - 

Moderato. 



fee 



SI 



>^r 



B P^t 



These all take their time from the previous note and are always to be performed in a brilliant style. 
The Trill proper, consists of a shake upon the principal note and the next above in the scale, concluding with a turn. 

EXAMPLE 

In this case the low^er note of the turn is usually a half tone below the principal note, /ffg « $7 * ~) %. 1 
The Trill is indicated by <tr and the lower half of the turn is usually written out. vP 4i ~1 



A trill for several bars is indicated thus 






t;» 



£ 



15 



A Long Trill on a note affected by a pause, should usually commence slowly and very gradually grow more 
rapid, while the Turn should be rather slowly and deliberately executed. Sometimes when the note following 
the Trill is lower, the Turn is omitted. 

The Mordente is a Trill without the Turn. It is indicated by the sign^v 



Written. 



# 



-F ' 



±1 



Played. 

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The same in slower tempo would be played thus-. 



$ 



A: 






There is another form of Mordente common in Clarinet and Flute parts, but ineffective when performed by a 
brass instrument. 

It is indicated by the Mordente sign, sometimes by ** sometimes by grace notes and sometimes written out 
as performed, thus: 



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or 



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or 



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The Mordente takes its time from the note to which it belongs. 

The Gruppetto is ordinarily placed between two notes of unequal value and serves to give grace and ele- 
gance to certain phrases. 

Moderate 



EXAMPLES. 



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Slow movement 



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Allegretto 

PHP 



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Allegro vivace 




SCALE IN GRUPPETTI. 




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As may be understood from the above example, this form of gruppetto varies considerably with the tempo 
and its rendering depends largely upon the experience, taste and judgment of the performer. 



IB 



Exercises on The Short Appoggiatura Mordente and Trill 

Allegro. 



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Allegro. 



Written. 



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Double Notes. 



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I j Exercise On Diminished Chords. 

J: 100 to 6- 108. 



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18 



Chromatic Scales. 

Play Nos. 1. 2, 3 and 4. an octave higher than they are written if the instrument begins with F 





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In triplets. J- 90 to <J.= too 



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10 



THE ROLL OR TREMOLO 

The Roll or Tremolo is produced by a stroke rapidly alternating- from hand to hand like the roll of the Tympani. 

Its use is to prolong - or sustain the tone whenever necessary. By its aid a slow melody may be efficiently ren- 
dered in a leg-ato style. The power of stroke must be perfectly even with each hand and should not be attemped until 
the student has become familiar with the use of the hammers. 



by 



N2 4 of the elementary exercises is a g-ood preliminary study of the tremolo. It is g-enerally indicated either 
< Trem. 

but if the player will realize that it is the only mode of tone sustaining- he can apply it to 



m 



or »> - 



any passag-e which requires prolonged tones. 



Example 




Andante 

&— 



^ = m 



XL 



Play in a continuous tremolo. 



The Tremolo should be practiced beg-inning- with either hand, only increasing- the rapidity of beat as it can be 
done with an even power of stroke. 



THE TRILL 

The Trill is executed with the same form of beat as the tremolo but on two different notes. 

Example 

As written As played 

The proper execution, however of the trill is not a fig-ure that can be indicated by any specific number of notes. 
It depends upon the artistic taste and experience of the performer., 




THE GLISSANDO 

The Glissando is an ornamental flourish which is effected by g-liding- one hammer over the bars and mak- 
ing- the finishing- stroke with the other. In ascending- glide with the right hammer and finish with the left. In 
descending- glide with the left and finish with the rig-ht. 

It is g-enerally indicated by a line drawn from one note to the other. 

As written ^■'P' ^ s yl a y«d 



Ascending- 




^ 



Count 1 




Count 1 



Descending- (7K % _ 




The player must make the g-lide in such a manner as to produce all the tones between the two principal notes 
and reach the finishing- note at the proper time. 



20 



Exercises On The Tremolo 



Tempo (J - so to 144) 



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As there is nothings to be acquired but the proper stroke no further exercises are needed. After acquirement it 
can be applied to any form of slow melody. 

Exercises On The Glissando And Tremolo Combined 



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21 



Exercises On Triplets. 



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24 



NYDIA WALTZ. 



INTROD. 

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26 



KING OF THE ROAD 

GALOP. 



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SPEED THE PLOUGH. 




CALYPSO POLKA. 

FOR CONCERT XYLOPHONE, C SCALE. 



27 



I 



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Andante. a tempo 
3 C\ Solo 



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28 



LOIN DU BAL. 

FOR CONCERT XYLOPHONE, C SCALE. 



Tempo di Valse 



E.GILLET. 



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PPP 



SOFTLY GLIDING POLKA. 



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RUSSIAN HYMN. 



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GREATER AMERICA 

FANTASIA POLKA. 



Allegro maestoso. 



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LIGHT AS A FEATHER. 

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COMMON MUSICAL TERMS. 



Accelerando, Accel.- Gradually increasing- the velocity. 

Adagio -A very slow degree of movement. 

Ad Libitum, Ad Lib .-At the discretion of the performer. 

Affettuoso-With mournful expression. 

Agitato -Agitated, hurried, restless. 

Allegretto - Light and cheerful but not so quick as Allegro. 

Allegro - Quick, lively, but frequently modified by the addition 

of other words that chang-e its expression, as; 
Allegro Agitato - Quick,with anxiety and agitation. 
Allegro Assai-Very quick. 

Allegro Con Fuoco - Quick,with fire and animation. 
Allegro Con Moto - Quick, with more than the usual degree of 

movement. 
Andante- A movement in moderate time but flowing steadily, 

easily, and gracefully, This term is often modified as to time 

and style by the addition of other words, as; 
Andante Con Moto - Moving- easily, with motion or agitation,- 

rather lively. 
Andante Maestoso -Rather slowly and in majestic style. 
Andante ma non Troppo- Slowly but not too much so. 
Andantino- A little faster than Andante. This is a disputed 

term and in some old compositions it is used to indicate a 

movement slower than Andante. 
Anima or Animato - With life and animation. 
Assai- Very, extremely, in a high degree, as Allegro assaivery 

quick. 
A Tempo - In time; a term used to denote that after some divia - 

tion or relaxation of the time, the performers must return to 

the original movement. 
Ben- Well; such as Ben Marcato,Well marked. 
Bravura, con- With spirit and boldness of execution. 
Brillante- Brilliant. 
Cantabile- In a melodious, singing and graceful style, full of 

expression. 
Col or Colla- With the,- as Colla Voce, with the voice. 
Con -With; as Con Forza, with great force. 
Con Ainore - With tenderness and affection. 
Con Anima or Con Animato-With Animation. 
Con Brio - With life, spirit, brilliancy. 
Con Fuoco - With fire and expression. 
Con Spirito -With spirit, life,energ-y. 
Delicato - Delicately, smoothly. 
Dolce - Sweetly, softly, delicately. 
Elegante - Elegant, graceful . 



Espress, Espressivo or Espressione- With expression. 

Facile- Light, easy. 

Giocose- Humorously, sportively. 

Gracioso - Graceful. 

Grandioso- Grand, noble. 

Grave - Slow, solemn. 

Larghetto-Slow but not so slow as Larg-o. 

Largo -A slow and solemn degree of movement. 

Largo Assai-Very slow. 

Legato- In a close, smooth, graceful manner. 

Leggiero- Light, swift, delicate. 

Lento -Slow. 

Ma- But, as Andante ma non troppo, slow but not too much so. 

Maestoso - Majestic, stately, dig-nif ied. 

Marcato - Marked, accented, well pronounced. 

Meno-Less; as Meno Mosso, less movement. 

Meno Vivo - Not so fast. 

Mezzo- In a middling- degree or manner; as Mezzo Forte, 

rather loud. 
Moderato- With a moderate degree of quickness. 
Molto- Much, very much, a great deal. 
Molto Allegro -Very quick. 

Morendo - Gradually diminishing the tone and time. 
Mosso -Movement, motion. 

Moto -Motion, movement; as Con Moto, with motion rather quick. 
Non - Not, no; as Non troppo, not too much. 
Non tanto-Not so much,or not too much. 
Piu-More; as Piu lento, More slowly. 
Piu mosso- More motion. 
Poco- Little. 

Poco Piu Allegro- A little more Allegro. 
Prestissimo - As fast as possible. 
Presto- Quickly, rapidly. 

Rallentando, Rail.- The time gradually slower. 
Rit, Ritard, Ritardando - Same as Rallentando. 
Scherzando - Playful, sportive,lively, merry. 
Sempre- Always; as .Sempre Accelerando, always faster. 
Smorzando- Gradually dying away. 
Sostenuto- Sustaining the tone. 
Stringendo- Accelerating the movement. 
Tempo Primo - In the original time. 
Tutti - All the entire band or chorus; in a solo it indicates where 

the full band or orchestra is to come in. 
Vivace -With animation. 



Ask any music dealer for 

ELSON'S MUSIC DICTIONARY 

—"•Price One Dollar. <—- 



THE JOLLY DUTCHMAN WALTZ C.W.Bennet. 

PARAPHRASE: on'THE OLD OAKEN BUCKET" T.H.Rollinson. 

PARAPHRASE on'THE PALMS'.' R.Gruenwald. 

PARAPHRASE on "ANNIE LAURIE'.' C.W.Bennet. 

GRAND INTERNATIONAL FANTASIA. T.H.Rollinson. 

GRAND AMERICAN FANTASIA Theo.Bendix. 

SYMPOSIA WALTZ. The Success of the Age 

A MORNING IN NOAH'S ARK T.H.Rollinson. 

THE HUNTING OF THE"SNARK'.' 

THE MUSICAL CRITICS DREAM E.A.Dix. 

A NIG-HT WITH THE BOGIES OttoLangey. 

A CHINESE EPISODE. Theo.Bendix. 

WEARY RAGGLES (hobodance.) 

PARADE OF THE DOLLS R.Gruenwald. 

MARCH OF THE NUBIANS C.W.Bennet. 

THE DREAM AFTER THE FEAST LP.Laurendeau. 

WAY DOWN SOUTH " 

GRAND FANTASIA ON"DIXIE'.' OttoLangey. 

A LITTLE BIT OF"ESSENCEV T.H.Rollinson. 

MUSICAL SCENES FROM SPAIN Otto Langey. 

MUSICAL SCENES FROM SCOTLAND " 

MUSICAL SCENES FROM SWITZERLAND. 

LA PAPILLOTE R.Gruenwald. 

A BUNCH OF VIOLETS flower song. C.W.Bennet. 

DANSE DES ODALISQUES. scherzo FANTAsrtQU£. GeaLTracy. 

SHADOW BALLET Theo.Bendix. 



Sample Melody pants of numbers marked (* ) sent free of Charge. 



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